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研究生:劉南廷
研究生(外文):LIU, NAN-TING
論文名稱:爵士薩克斯風樂手查理・帕克、桑尼・史提特、菲爾・伍茲之爵士標準曲即興片段分析與比較：以《切羅基》為例
論文名稱(外文):An Analysis and Comparison of Improvisations of Jazz Standard by Jazz Saxophonists Charlie Parker, Sonny Stitt, and Phil Woods, Use Cherokee as Example
指導教授:劉騰文
指導教授(外文):LIU,TENG-WEN
學位類別:碩士
校院名稱:輔仁大學
系所名稱:音樂學系
論文出版年:2024
語文別:中文
論文頁數:135
論文摘要
本論文將研究美國三位重要的爵士中音薩克斯風手，查理・帕克（Charlie Parker, 1920-1955）、桑尼・史提特（Sonny Stitt, 1924-1982）、菲爾・伍茲（Phil Woods, 1931-2015）的專輯曲目《切羅基》（Cherokee）為比較分析。分別為帕克於 1940 年錄製的《咆勃的誕生》（Birth of the Bebop）這張專輯
裡，由藏匿唱片（Stash Records）唱片公司於 1941 年發行，史提特於 1950-1952 年錄制，並於 1957 年發行的《萬花筒》（Kaleidoscope）由聲望唱片（Prestige Records）於 1957 年發行，伍茲於 2003 年錄音，並於 2004 年，由語言學（Philology）發行的《菲爾與李：三間公寓的兩兄弟》（Phil & Lee：Two Brothers in Three Flats），以這三張專輯中的《切羅基》作為分析與比較的重點。
本論文會使用五個章節，其中包括：第一章緒論，介紹研究動機與目的，以及研究範圍與方法。第二章介紹咆勃、硬咆勃風格背景、《切羅基》的專輯（包含三位爵士音樂家以及原作曲者），以及帕克、史提特、伍茲的生平背景。第三章為《切羅基》樂曲的分析，其中包含曲式、和弦與旋律，以及以帕克、史提特、伍茲的《切羅基》即興樂曲做為分析重點，研究其即興手法、音色、技巧分析。第四章將以三位即興的手法作為對比、比較，分析其不同之處。第五章結論為本論文的最後一章。
查理・帕克、桑尼 ・史提特與菲爾・伍茲所使用的句子組合多半為八分音符為主，三連音為輔。帕克在音符與音符之間，也有著不同的公式組合，像是多數使用琶音之後會連接相連的音階，史提特的音準偏高，也是他極具特色之一，更多的連續音群也是之一，伍茲則是偏好使用較多的和弦琶音，音色更為狂野，音量大小分明，且經常使用多種技巧來建構句子。
藉由本次研究，可以更加了解爵士音樂家對於爵士樂的重大改變，經由他們的音樂、即興技巧、以及經歷來增進本人對於爵士音樂的理解，了解各個時代的爵士樂手們不同的音樂思維，作為我在爵士音樂這條路上的重要養分。在未來筆者希望此研究對於新生的爵士音樂工作者與爵士音樂愛好者，提供具有參考價值的資料。
論文外文摘要
This dissertation will examine three important jazz-alto saxophonists in the United States, Charlie Parker Parker (1920-1955), Sonny Stitt (1924-1982), Phil Woods (Phil Woods, 1931-2015) is a comparative analysis. The album "Birth of the bebop" recorded by Parker in 1940, released in 1941 by Stash Records. "Kaleidoscope" recorded by Stitt in 1950-1952, released in 1957 by Prestige Records. "Phil & Lee：Two Brothers in Three Flats" recorded by Woods in 2003, released in 2004 by Philology Records.
The paper proceeds as follows. Chapter one explains the research motivations, purpose, methodology and scope. Chapter two introduces the background of the be-bop, hard-bop, the Cherokee album (including the three jazz musicians and the original composer) and the biographies of Parker, Stitt, and Woods. Chapter three is an analysis of the Cherokee composition, including: from, chords, melodies, and the improvisation of Parker, Stitt, and Woods. Study the analysis of improvisation, timbre, and technique. Chapter four is compare and contrast the improvisational techniques of the three people, and analyze their differences. Chapter five concludes as the final chapter of the dissertation.
Charlie Parker, Sonny Stitt, and Phil Woods use sentence combinations that are mostly eighth-note and triplets. Parker also has different formulas between notes, such as most arpeggios that connect connected scales. Stitt pitch is on the high side, which is also one of his characteristics and more continuous groups are also one. Woods, on the other hand, prefers to use more chord arpeggios, has a wilder timbre, has a well-defined volume, and often uses a variety of techniques to construct sentences.
Through this research, author can better understand the significant changes of jazz music. Through the music, improvisational skills, and experiences of jazz musicians, author can improve my understanding of jazz music and understand the different musical thinking of jazz musicians of different eras, which is an important for me on the road of jazz music. In the future, author hope that this research will provide valuable reference materials for new jazz musicians and jazz music lovers.
